I Muppet alla conquista di Broadway

This is my least-favorite of the three Muppet movies of the Henson era. There just isn't enough Muppets. Most of the gang leaves during the very beginning and it's all about Kermit, Piggy and Rizzo. Great characters, yes, but without the whole wacky ensemble it's just not the same. That, and the film is kind of just reinforcing what happened in the original Muppet movie, only replacing Hollywood with Broadway.

Don't get me wrong, it's an enjoyable movie, but it's not grade 'A' muppet material.

I distinctly remember seeing "Muppets Take Manhattan" in the movie theater when I was 8 years old--following the film, I immediately demanded that my parents purchase the soundtrack LP (yes, on vinyl!). I loved this movie then; I love it still.

Actually, it's my favorite among the first three, classic Muppet films; "Muppet Movie" is great but overlong, while "Great Muppet Caper" is terrific, but seems a bit dated now. "Muppets Take Manhattan," on the other hand, never fails to entertain me, still makes me laugh out loud (the purse-snatching scene; Kermit in his Bert Convy 'fro), and even tugs at my heartstrings.

What's particularly nice about this adventure is that it's an affectionate love letter to Hollywood musicals of yore, without being overly parodying. The musical comedy cliches are presented in a matter-of-fact manner; just as we were expected to suspend our disbelief when Ruby Keeler went out onstage a nobody but "came back a star!", we suspend our disbelief to encompass a group of talking animals putting together a big budget Broadway musical in 2 weeks. These kind of hoary plot devices are presented straight-faced, without any self-conscious "winking" or irony.

The songs are all pretty darn terrific; the show-stopping "Together Again" finale is as good as any contemporary musical number of the last 20 years or so, while "It's Time for Saying Goodbye" always puts a lump in my throat: it's sentimental without being maudlin. The finale, "He/She Makes Me Happy" goes from being sweet to comically over-the-top in less than 3 minutes, and it's a joy.

The expected parade of cameos work well within the structure, without being intrusive. My particular favorites are Liza Minnelli's (the whole Sardi's scene is wonderful), Linda Lavin's (another terrific comedy moment: "YOU are Mr. Enrico Tortellini of Passaic, New Jersey!"), and Joan Rivers' (another gem). The Muppet performers are their usual, endearing selves: lovable, warm, likable. The "love triangle" between Kermit, Piggy and the human Jenny plays surprisingly well, and Piggy's jealous reactions are hysterical.

These days, "family entertainment" usually means disgustingly white-washed pap that anyone over 10 or 11 would find either sedating or inane. (Disney's live action "101 Dalmations" and its sequel spring to mind.) The Muppet movies proved that a G-rated film could be intelligent, witty, funny and entertaining for all ages. It's a formula that has yet to be improved upon, and "The Muppets Take Manhattan" just might be the best example of it.

A fascinating insight into the lives of a variety of talking animals and the trials and tribulations they face in the human dominated New York, this film deals with the age old tale of frog meets pig in a mature, contemporary fashion. The director, late great Mr Henson, pulls no punches in his gritty treatment, and the viewer is left with no doubt as to the authenticity and integrity of the bold statement this film makes; in truth, "peoples" really is "peoples". Shocking at the time, the film may now seem clumsy in comparison to modern epics such as the highly charged "Toy Story" or more violent bloodfests such as "Antz", but Henson's meisterwork is nonetheless worthy of acclaim. The foolishness of the Academy in witholding an Oscar in fear of controversy was later exposed by an older and more embittered Kermit, in his 1993 director/writer debut short entitled simply "Pondlife", an autobiographical return to form which revealed the story of his consequent lack of self esteem and alcohol problems, leading to his eventual divorce from manhattan co-star Miss Piggy. Piggy herself has since written a series of well received self-help books.

The Muppets gang graduate from college, and try to make it on Broadway. Only they can't find any takers. The gang decide to go on their own, and not depend on Kermit so much. Meanwhile Kermit works in a diner, and try to get his play off the ground.

This starts off great with a lot of comedy from the whole gang. Dabney Coleman is great for some gut busting laughs. It's too bad that the gang is scattered after the start. Miss Piggy has some hilarious fun, but I prefer to have the whole gang together. They're funnier together.

The main live action lead is Juliana Donald who's trying to help Kermit get the play off the ground. She doesn't have any sparks, and looks awkward like she's acting with a bunch of puppets. There are a lot of famous cameos. I'd prefer to have Brooke Shields as the lead. Beside that, there is a lot to love, and a lot of laughs in this Muppets movie.

What else can you expect when the Muppets don't take Manhattan but steal the show from cameo celebrities and a plot to get their musical on Broadway called "Manhattan Melodies." The Muppet gang finished college in some small town New England and go to the big city. Kermit and the gang try but unsuccessfully at first to get Manhattan Melodies. Kermit and the gang split up and get jobs in various places. Miss Piggy works at a department store with Joan Rivers. Kermit works at a diner with Jenny. Kermit comes with innovative ways especially the scene at Sardis where he replaces Liza Minnelli's picture with his own in her cameo. There are plenty of celebrities like the three term Mayor Ed Koch; Gregory Hines in Central Park; Brooke Shields at the diner; Linda Lavin as Kermit's doctor; Elliott Gould; James Coco; Dabney Coleman; Gates McFadden and more. The story and songs are entertaining and likable. Jim Henson was still alive and this film was done in his adoptive city.